Last year, Y&R commandeered our Best Show category, and it receives this accolade yet again by continuing to deliver intricately woven plots, smart dialogue and characters whose integrity is fiercely protected.

Under the guidance of Executive Producer/Head Writer Jack Smith, Head Writer Kay Alden and Supervising Producer Edward J. Scott, viewers know what to expect. While some shows appear to bow to the whims of focus groups, victims of too-many-cooks-in-the-kitchen syndrome, Y&R is remarkably consistent with confident, character-driven writing.

The show regularly draws on its history. Revisiting Katherine's alcoholism was organic to the character and realistic. Sharon and Nikki's in-law squabbles are rooted in the past - Nikki never wanted her son to marry Sharon in the first place. Malcolm's return from the dead as a bitter badass is a reminder that the Winterses don't always live in COSBY-style domestic bliss. Drawing on the past is a payoff for long-time viewers and enriches the experience of more-recent fans.

Newer characters aren't plopped front and center, but developed gradually as layers are slowly revealed. Take Damon: His Zen-like demeanor hid a horrible rage due to the killing of his young son, while reckless, predatory Kevin suffered a ghastly boyhood abuse.

The daytime genre takes a lot of knocks from the unenlightened, so the next time some know-it-all criticizes the form, have them watch Y&R. It exemplifies everything that is wonderful about soap opera.